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SEEN AND HEARD INTERNATIONAL MUSIC FESTIVAL REVIEW

 San Sebastián Quincena Musical 2009 (3) - Handel, Israel in Egypt: The English Baroque Soloists, The Monteverdi Choir, Conductor: John Eliot Gardiner, Auditorio Kursaal de San Sebastián. 29. 8.2009 (JMI) 


Programming this Handel Oratorio at the Quincena Musical raised great expectations among fans, not only forthe title itself, very seldom performed in Spain, but mostly for the presence of British conductor Sir John Eliot Gardiner, his Orchestra and the choir he founded some 40 years ago. As I say, the expectation was huge and the results disappointed no-one. Quite the contrary.

Israel in Egypt is one of the oratorios Handel composed during his London years and it was premiered at King’s Theatre in 1739. The libretto was most probably written by Handel himself, taking texts from the Bible, and it is mostly an outstanding choral work, although with some contributions from soloists: certainly it is the composer’s most important choral composition. Although the premiere was not followed by success, by the 19th century it had become the almost Handel’s most popular oratorio second only to The Messiah. The music in this oratorio is some of the most delicate – a true balsam – that this immense musician ever penned. 

The version offered by Sir John Eliot Gardiner was not that originally premiered, which was subsequently revised. The original version had three parts, while the revised and more traditional version, which Gardiner chose for this concert, deletes the first part “The ways of Zion do Mourn” sometimes called “The sons of Israel do Mourn” in which the Jewish people lament the death of Joseph. The last two parts “Exodus” and “The Song of Moses song” form what has now become the customary version.

The result of the concert was in fact magnificent. Sir John Eliot Gardiner is clearly one of the most important and versatile conductors living today. Although many people identify him with Baroque music, his excursions into other repertoires have been spectacular. Let me simply recall his Berlioz Trojans in Paris a few years ago, which became for me the musical reference. More or less the same can be said of his Carmen of a few months back in Paris and given again in Granada last July. Finally, how could anyone fail to remember his Jenufa in Salzburg or even – why not? – his Merry Widow. Whilst there is question that Sir John is a great Baroque music conductor, to my mind there is also little doubt that he is an outstanding all-rounder as a musician and one of the greatest conductors in the world. 

This reading was one of unsurpassable delicacy, authority and strength when needed. Truly magnificent. The orchestra, the English Baroque Soloists, 33 musicians on this occasion, was at its height under this exceptional leadership. It is obviously true that there are some other fine Baroque orchestras around at the moment and it can be difficult to differentiate the quality of those at the highest rank: all I can say confidently is that this is one of them. Regarding the Monteverdi Choir though, I would go even further and say that it is actually incomparable. There is a long choral tradition in the Basque country and this chorus was the sensation of the evening. Not only they are a perfect ensemble together, but 11 out of the 32 members stepped forward for the solo numbers, and the vocal quality of many of them was very impressive. It is a pity that the program did not provide the names of the different soloists. 

The Kursaal was a full sold out house. The concert ended with a literal standing ovation dedicated to Orchestra, Choir and Sir John. As a reward, they were given an encore, a repeat of the final number “Sing ye to the Lord”, which received a hurricane of cheers.

A completely exceptional concert then, completely worthy of a first rate Music Festival like the Quincena Musical.

José M Irurzun